Why Is Fahrenheit 451 Banned
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Bradbury's novel, set in the 24th century, is about the life of protagonist Guy Montag, who is a firefighter in charge of burning illegally owned books as well as the homes of the lawbreakers. In the fictional world, books became illegal after small groups objected to literature that offended them, according to Sparknotes. In McCall-Strehlow's argument, she said students "in today's society" may take the book's concepts — murder, bullying drugs — literally. McCall-Strehlow said she first heard about the book assignment when her year-old daughter asked her what a "bastard" was.
So, why are we making them read a book that's full of profanity? The Daoist protagonist George Orr discovers that he has a superpower which allows him to change history and the present through his dreams. He is an 'effective dreamer,' who, fearing his dreams, avoids them. Seeking out the psychiatrist William Haber, Orr finds that his emergent psychokinetic abilities will be exploited for Haber's own purposes by means of an 'Augmentor. The Word for World is Forest, which unfolds on the fictional forested planet of Athshe, functions to denounce colonialism, genocide, and ecocide in an allegory for the Vietnam War.
Le Guin portrays humans from Earth as enslaving the indigenous humanoid Athsheans and logging the planet's woods for profit. Echoing the real-life repulsion of the French and American imperialists from Vietnam through guerrilla warfare, such super-exploitation leads the Athsheans to rise up and expel the humans from the planet altogether. In this hell envisioned by Lucas, humans serve as little more than automatons who labor to construct robot-police, and so reproduce their own oppression. As in Palei, Zamyatin, and Bradbury's dystopias, the social control of workers in THX is attained through television, religion, the pharmaceutical suppression of Eros and emotion, and police brutality.
In this way, the film shows human love, exile, and bricolage 'making do with what is on hand' to be important anti-authoritarian strategies for rebellion and survival. In the film, 'Thex' falls in love with 'Luh' after she switches out his sex-inhibition drugs. Then, after Luh is summarily executed for her erotic disobedience, Thex appropriates a police-car to escape from this dim world. The robot-police retreat, just as Thex reaches the surface by ladder, simply because the operation to neutralize him had by that point surpassed its allocated budget. The Star Wars saga, which has produced billions of dollars for its producers, directors, and investors over the past near half-century, extends the political anti-authoritarianism of THX into a space opera, set—as we know—in a distant galaxy, 'a long time ago.
The Death Star recalls the atomic and thermonuclear weapons developed and used by the US, and the dark side of the Force brings to mind the violence of the Nazis, the British Empire, and US settler-colonialism. Therefore, Star Wars can be viewed as Lucas' symbolic rebellion against the father figure represented by Uncle Sam. The first two Terminator films , , co-written and directed by James Cameron, peer into this future dystopian world, based on the established power of technocratic bureaucracy, capitalism, and militarism in our own.
The result is a post-apocalyptic Los Angeles, marred by nuclear war , and 'controlled by a vast Terminator army, seeking daily to destroy the remnants of humanity. The ground is littered with human skulls and corpses. They will stop at nothing to complete their missions: they will drag anyone 'beneath the wheels of the Juggernaut of capital. As profitable social-protest films, the Terminator series helpfully illuminates the ultra-violence lurking just beneath everyday life under capitalism. Along these lines, we see that violence against women and political reaction go hand in hand; that the Los Angeles Police Department LAPD is simultaneously the Terminator's self and Other ; that the T and T sent by Skynet in the first two films clearly resemble neo-Nazi terrorists; and that the 'right to bear arms,' enshrined by the Second Amendment to the US Constitution, facilitates mass-murder.
Living out disaster communism, Sarah Connor crushes the first Terminator inside a hydraulic press. In her Cyborg Manifesto , the feminist ecologist Donna Haraway asserts that we are all, by this time, 'fabricated hybrids of machine and organism—in short, cyborgs. In this case, for workers to have autonomy would allow them to 'stop to think if they should' in fact proceed with the plan to resurrect dinosaurs 65 million years after their extinction. Considering how the dinosaurs rebel against their confinement and smash the infrastructure encaging them for the purposes of commodification and human entertainment, Jurassic Park can be viewed as a variation on Frankenstein that implicitly affirms the cause of animal liberation and the subversive meaning of chaos theory and fractals —Crichton's disastrous late turn to climate-denialism notwithstanding.
Butler's The Parable of the Sower integrates this Black feminist author's adverse childhood experiences with racism, poverty, and depression into a social novel which champions struggle to transform the world. Butler's youthful alter ego, Lauren Olamina, is an empath who begins the story living with her family in a gated 'company town' in Southern California that effectively provides slave labor for corporations.
Marauding murderers and rapists linger just outside the compound's walls. One day, robbers break into their community, killing Lauren's family, destroying her home, and turning her out. Suddenly made homeless, Olamina sets out for northern California by foot, finding companions, comrades, and a lover along the way. Following from her Buddhistic discovery that the 'only lasting truth is change,' Olamina founds the humanistic Earthseed religion, which emphasizes proactive social reconstruction, community, and proselytization, proposing a destiny for its adherents among the stars. Such repressiveness facilitated social control and sounded the death-knell of the Russian Revolution, as we see portrayed in We , in much the same way that Puritanism, Taylorism, and Fordism have reproduced capitalist oppression in US society—as the dystopias Metropolis , Battle in the Ether , Gulfstream , Modern Times , Fahrenheit , and THX show.
Along similar lines, Henry Ford and Hitler mutually admired each other , whereas Ford and Stalin made a deal in That being said, it is remarkable to consider how utopian and dystopian anti-capitalist themes from early Soviet art have resonated in the literature, films, and games created over the past century—even, and especially, by Western artists, to this day. Implicitly, all three works function to critique the instrumental or technical reason underpinning bourgeois society.